This training will be required for all student presidents/leaders and faculty/staff advisors of on campus student organizations. If you are unable to attend the training on this day, we will have another training on September 4th from 5:15-6:15pm.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.

Interested in getting involved in the Theatre Department at Wofford? Want to learn more about what’s coming up this season, and about how you can help? Please join us for an Open House on Sept. 3 at 6 PM in the Sallenger Sisters Black Box Theatre! Meet the faculty, staff, and students who make up the vibrant and growing theatre community on campus, learn more about opportunities to get involved both onstage and off, and enjoy some delicious treats while you’re at it!

After the Open House, all are welcome to stay to audition for our fall play, Circle Mirror Transformation, written by Annie Baker and directed by Prof. Dan Day. Auditions will include cold readings from the script, and all auditionees are also invited to prepare and memorize two contrasting, contemporary monologues from American playwrights, no more than one minute long each. Note that monologues are required for all students who are currently pursuing or who plan to declare a major or minor in Theatre; please prepare new material that you have not used for previous auditions, classes, or productions at Wofford. Monologues are optional for all others.

This is a safe zone group for women with diverse backgrounds and interests to support, collaborate with, and help each other. Allies are very welcome! Free lunch for all attendees. Come to have a good time and to learn about activities we do off campus. The other two luncheons this semester are scheduled for October 4 and November 1.

Create is a Wellness Center sponsored time of relaxation and creative expression during the middle of the week. We will have various projects which will be announced on our social media sites and in daily announcements. Most weeks we will meet from 1-3 in the Campus Life lobby, but every now and then we will move Create to collaborate with another group on campus such as WAC or residence life.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.

Please join Jennifer Allison and Carol Wilson for a lunch presentation & discussion, reviewing important information for advising students who request a Catalog update to change their options for meeting general education requirements, The meeting is useful for major advisors as well as general education advisors working with second-year students. All advisors are welcome.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.

This event is a back-to-school bash hosted by the senior class to kick off the year and fundraising efforts. The event will be a fun time for students from every class to reunite during the first week of school and have a good time! There will be special Wofford themed food and drinks sold as well to help the class with their fundraising goal. We hope for the event to be a time to raise up the football team as well with a section from Coach Conklin and the cheerleading team.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

Join Finite this Friday for "Tie Dye & Pie," sponsored by CREATE! From 9 p.m. - midnight, head on over to the sand volleyball courts in Phase III of the Senior Village to make your very own tie dye shirt and/or socks! Finite will be providing plain white shirts and socks, but supplies are limited! Then, after you've tie dyed, enjoy a delicious slice of pie! Many varieties and flavors of pie will be present, so come for the tie dye, and stay for the pie! Games of all kinds will be offered as well, including volleyball, basketball and spike ball. Come hang out with us!See y'all there!

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.

The first Meet and Greet this semester is on Sep. 9. from noon till around 1pm. We will meet to network and build relationships on campus, while having a good time with a complimentary lunch. There will be two other meetings this semester on October 7 and November 4, all of them in Gray Jones room at Burwell. Come and join us!

This informational session will provide more details about application deadlines, individual international programs, and available scholarships regarding interim and study abroad travels. Food and beverages will be provided. Sponsored by Wofford Firsts.

Otherness²:
Hiding in Plain Sight explores the outsider’s perspectives and the impact of
“Othering.” During the creative process, Harrison-Houser pursues authenticity
and begins to reveal untold stories in her work. However, she instinctively
hides within the mark-making with her use of symbolism, sgraffito, and
abstraction. Layer after layer of gesso and paint erase her disclosures.
Subsequently, the art installation shares these stories only in a type of
Hide-and-Seek game for the viewer. For deeper connections, the viewer
physically moves to a separate space to match the conceptual titles back to the
abstract squares. Through this physical movement and mindfulness, the
storyteller role shifts away from the artist and moves to the viewer to create
awareness, conversation, and the momentum for change.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.

If you are interested in registering for the interim project "An Introduction to Dental Medicine, please sign the list in the Chemistry Department. Only 8 students can register and you need an override to get in. Students must have a minimum gpa of 3.2. Preference will be given to juniors and seniors. Higher gpas and making your request known earlier will help your chances of getting an override.

Otherness²:
Hiding in Plain Sight explores the outsider’s perspectives and the impact of
“Othering.” During the creative process, Harrison-Houser pursues authenticity
and begins to reveal untold stories in her work. However, she instinctively
hides within the mark-making with her use of symbolism, sgraffito, and
abstraction. Layer after layer of gesso and paint erase her disclosures.
Subsequently, the art installation shares these stories only in a type of
Hide-and-Seek game for the viewer. For deeper connections, the viewer
physically moves to a separate space to match the conceptual titles back to the
abstract squares. Through this physical movement and mindfulness, the
storyteller role shifts away from the artist and moves to the viewer to create
awareness, conversation, and the momentum for change.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.

During this information session, staff from the Office of International Programs will review available scholarship opportunities for study abroad as well as eligibility requirements, deadlines, and application components with interested students. Free catered dinner will be provided for all attendees.

Please sign up for the Annual Employee Wellness Screenings. These will take place Wednesday through Friday on August 7-9 and September 11-13 from 7-10:15 on the Second Floor of the Milliken Science Building near the Psychology Suites. Here is the link to sign uphttps://www.signupgenius.com/go/10C0F48A5A92CA0F58-2019

The Interim 2020 Travel/Study Fair will take place on Thursday, September 12 from 10:50am - noon on the top steps of Main Building. Faculty sponsors will be giving information sessions about their travel projects at 11:00am and 11:30am. This is a great way to learn more about Interim 2020 travel/study projects. We'll see you there!

Otherness²:
Hiding in Plain Sight explores the outsider’s perspectives and the impact of
“Othering.” During the creative process, Harrison-Houser pursues authenticity
and begins to reveal untold stories in her work. However, she instinctively
hides within the mark-making with her use of symbolism, sgraffito, and
abstraction. Layer after layer of gesso and paint erase her disclosures.
Subsequently, the art installation shares these stories only in a type of
Hide-and-Seek game for the viewer. For deeper connections, the viewer
physically moves to a separate space to match the conceptual titles back to the
abstract squares. Through this physical movement and mindfulness, the
storyteller role shifts away from the artist and moves to the viewer to create
awareness, conversation, and the momentum for change.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.

Join the Office of International Programs and the Office of Diversity and Inclusion to learn about the experience of African-American students and faculty while studying abroad. Participants will be sharing their experiences and discuss how to be successful in unfamiliar places and thrive while experiencing other cultures.

Please sign up for the Annual Employee Wellness
screening. These will take place on Wednesday through Friday on August 7- 9, and September 11- 13 from 7:00 till 10:00am. The site will be the second floor of the Psychology Suites near the stairs and elevator.Here is
the link to sign up https://www.signupgenius.com/go/10C0F48A5A92CA0F58-2019

Otherness²:
Hiding in Plain Sight explores the outsider’s perspectives and the impact of
“Othering.” During the creative process, Harrison-Houser pursues authenticity
and begins to reveal untold stories in her work. However, she instinctively
hides within the mark-making with her use of symbolism, sgraffito, and
abstraction. Layer after layer of gesso and paint erase her disclosures.
Subsequently, the art installation shares these stories only in a type of
Hide-and-Seek game for the viewer. For deeper connections, the viewer
physically moves to a separate space to match the conceptual titles back to the
abstract squares. Through this physical movement and mindfulness, the
storyteller role shifts away from the artist and moves to the viewer to create
awareness, conversation, and the momentum for change.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

Southern
Gothic: Intersections of Art and Literature in the Johnson Collection

From Edgar
Allen Poe’s haunting tale of The Gold Bug (1843) to Flannery
O'Connor’s biting short story “Good Country People” (1955), the Southern
Gothic literary tradition has exhumed the American South’s aberrations,
contradictions, and unique sense of dark humor. Drawing exclusively
from the Johnson Collection, Southern Gothic examines how
nineteenth-and twentieth-century artists borrowed from their literary
peers, using a potent visual language to address the tensions between the
South’s idyllic visions and its historical realities.This exhibition is
guest curated by Elizabeth Driscoll Smith, a Ph.D. candidate from the
University California, Santa Barbara, and the Johnson Collection’s 2019
graduate fellow.

First meeting of Faculty-Staff Learning Community (FSLC) on Networked Civic Engagement: Community-Based Praxis and Research. Participants in this FSLC will meet once monthly to develop a shared understanding of how better to support engagement and research by Wofford students in community context and to explore evidence-informed practices in community-based learning (CBL). All experience levels welcome.

The
Chinese Program and The Asian Studies Program would like to invite you to attend the Mid-Autumn Festival.
The Mid-Autumn Festival, or Moon Festival, is the second most important
traditional holiday in China. It is also broadly celebrated in East Asia,
Southeast Asia, and their overseas communities. This festival commemorates
the autumn harvest while enjoying a full moon with family and friends. It is
similar to Thanksgiving in U.S and is celebrated on the 15th day of August in
the lunar calendar. This year it takes place on Friday, September 13th. Our
celebration event will take place on September 13th (the Roman
version), 2019, from 5:00-7:00 p.m. at the Pavilion. Please join us for
Chinese food, moon cake, fruits, games, music, and crafting activities.

Otherness²:
Hiding in Plain Sight explores the outsider’s perspectives and the impact of
“Othering.” During the creative process, Harrison-Houser pursues authenticity
and begins to reveal untold stories in her work. However, she instinctively
hides within the mark-making with her use of symbolism, sgraffito, and
abstraction. Layer after layer of gesso and paint erase her disclosures.
Subsequently, the art installation shares these stories only in a type of
Hide-and-Seek game for the viewer. For deeper connections, the viewer
physically moves to a separate space to match the conceptual titles back to the
abstract squares. Through this physical movement and mindfulness, the
storyteller role shifts away from the artist and moves to the viewer to create
awareness, conversation, and the momentum for change.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.

Students who would like to apply for a Travel Grant for an Interim 2020 Travel/Study program should submit their application by today (September 15) at midnight. Applications can be found online: https://wofford.studioabroad.com/?go=travelgrant

Democratic presidential candidate Pete Buttigieg will hold a
Town Hall meeting for students, faculty and staff from 11 a.m. until noon on
Monday, Sept. 16, in the Jerome Johnson Richardson Theatre in the Rosalind
Sallenger Richardson Center for the Arts. The event is free and open to the
public, but the Wofford community has priority seating available from 10-10:30
a.m. Please register at www.mobilize.us/peteforamerica/event/119530/.
Email brasingtonjm@wofford.edu
for more information. This event is sponsored by the College Democrats.

Come join WAC for the
first Movie Night of the school year! Free popcorn will be provided. Here is a
synopsis: After a freak accident during a worldwide blackout, struggling
musician Jack Malik wakes to discover that he is the only person in the world
to remember The Beatles. Using this newfound benefit to his advantage, Jack
begins plagiarizing the work of the legendary band to launch his career to
superstardom.

This is the first of three information sessions during the free period on the 17th about interim internships for 2020. An overview of all internship opportunities will be given, but special attention will be given to the Learning Work interim. If students are not able to attend this session or the 11:30 or 12:00 ones, they should contact Dr. Anderson, Interim Coordinator, to get the overview handout. You can email him at andersonak@wofford.edu

Patrick Coby, Esther Booth Wiley Professor of Government at Smith College will give this year's Constitution Day lecture entitled "How Democratic is the Constitution" in Olin Theater at 11am on Tuesday, September 17th. Please join us for this celebration of Constitution Day.

This is the second of three information sessions during the free period on the 17th about interim internships for 2020. An overview of all internship opportunities will be given, but special attention will be given to the Learning Work interim. If students are not able to attend this session or the 11:00 or 12:00 ones, they should contact Dr. Anderson, Interim Coordinator, to get the overview handout. You can email him at andersonak@wofford.edu

This is the third of three information sessions during the free period on the 17th about interim internships for 2020. An overview of all internship opportunities will be given, but special attention will be given to the Learning Work interim. If students are not able to attend this session or the 11:00 or 11:30 ones, they should contact Dr. Anderson, Interim Coordinator, to get the overview handout. You can email him at andersonak@wofford.edu

Otherness²:
Hiding in Plain Sight explores the outsider’s perspectives and the impact of
“Othering.” During the creative process, Harrison-Houser pursues authenticity
and begins to reveal untold stories in her work. However, she instinctively
hides within the mark-making with her use of symbolism, sgraffito, and
abstraction. Layer after layer of gesso and paint erase her disclosures.
Subsequently, the art installation shares these stories only in a type of
Hide-and-Seek game for the viewer. For deeper connections, the viewer
physically moves to a separate space to match the conceptual titles back to the
abstract squares. Through this physical movement and mindfulness, the
storyteller role shifts away from the artist and moves to the viewer to create
awareness, conversation, and the momentum for change.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.

The Imagine Science Films Festival is held every fall in New York City. For the event, film makers from all over the world submit works that humanize science through the lens of personal reflection and cultural metaphor. The result is a collection of interdisciplinary art films tangentially focused on science and society. This year, the Imagine Science organization has created a custom-made mini-film, just for Wofford College. This mini-film is a collection of short features, all centered on the theme of trans-humanism, the use of future technology to enhance our lives and potentially alter our physical form. Please join us for this unique event; the popcorn and candy concessions are free.

If you are interested in registering for the interim project "An Introduction to Dental Medicine, please sign the list in the Chemistry Department. Only 8 students can register and you need an override to get in. Students must have a minimum gpa of 3.2. Preference will be given to juniors and seniors. Higher gpas and making your request known earlier will help your chances of getting an override.

Otherness²:
Hiding in Plain Sight explores the outsider’s perspectives and the impact of
“Othering.” During the creative process, Harrison-Houser pursues authenticity
and begins to reveal untold stories in her work. However, she instinctively
hides within the mark-making with her use of symbolism, sgraffito, and
abstraction. Layer after layer of gesso and paint erase her disclosures.
Subsequently, the art installation shares these stories only in a type of
Hide-and-Seek game for the viewer. For deeper connections, the viewer
physically moves to a separate space to match the conceptual titles back to the
abstract squares. Through this physical movement and mindfulness, the
storyteller role shifts away from the artist and moves to the viewer to create
awareness, conversation, and the momentum for change.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.

The Imagine Science Films Festival is held every fall in New York City. For the event, film makers from all over the world submit works that humanize science through the lens of personal reflection and cultural metaphor. The result is a collection of interdisciplinary art films tangentially focused on science and society. This year, the Imagine Science organization has created a custom-made mini-film, just for Wofford College. This mini-film is a collection of short features, all centered on the theme of trans-humanism, the use of future technology to enhance our lives and potentially alter our physical form. Please join us for this unique event; the popcorn and candy concessions are free.

The Imagine Science Films Festival is held every fall in New York City. For the event, film makers from all over the world submit works that humanize science through the lens of personal reflection and cultural metaphor. The result is a collection of interdisciplinary art films tangentially focused on science and society. This year, the Imagine Science organization has created a custom-made mini-film, just for Wofford College. This mini-film is a collection of short features, all centered on the theme of trans-humanism, the use of future technology to enhance our lives and potentially alter our physical form. Please join us for this unique event; the popcorn and candy concessions are free.

The deadline to apply for an Interim 2020 Travel/Study program is today (September 19) at midnight. Applications can be found online by clicking on the specific program, then "Apply Now": https://wofford.studioabroad.com/?go=Interim2020

The
Benjamin A. Gilman International Scholarship is a scholarship opportunity
available to students who receive a Federal Pell grant. Eligible students may
receive up to $8,000 in funding for a study abroad or intern abroad experience.
During this information session, staff from the Office of International
Programs will review the scholarship goals, eligibility requirements, and
application components with interested students.Free catered lunch will be
provided for all attendees.

Otherness²:
Hiding in Plain Sight explores the outsider’s perspectives and the impact of
“Othering.” During the creative process, Harrison-Houser pursues authenticity
and begins to reveal untold stories in her work. However, she instinctively
hides within the mark-making with her use of symbolism, sgraffito, and
abstraction. Layer after layer of gesso and paint erase her disclosures.
Subsequently, the art installation shares these stories only in a type of
Hide-and-Seek game for the viewer. For deeper connections, the viewer
physically moves to a separate space to match the conceptual titles back to the
abstract squares. Through this physical movement and mindfulness, the
storyteller role shifts away from the artist and moves to the viewer to create
awareness, conversation, and the momentum for change.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.

Dr.
David G. Martínez, Assistant Professor of Educational Leadership and Policies in the
College of Education at the University of South Carolina, will facilitate an
interactive forum about structures
which create educational opportunity barriers for marginalized, LatinX, and
Indigenous students. The forum will focus on the valued types of equity and
social justice within fiscal policy and law, and the alternative forms of
equity and social justice that with participatory inclusion could mitigate some
of the continued disparity we see in education.

The Imagine Science Films Festival is held every fall in New York City. For the event, film makers from all over the world submit works that humanize science through the lens of personal reflection and cultural metaphor. The result is a collection of interdisciplinary art films tangentially focused on science and society. This year, the Imagine Science organization has created a custom-made mini-film, just for Wofford College. This mini-film is a collection of short features, all centered on the theme of trans-humanism, the use of future technology to enhance our lives and potentially alter our physical form. Please join us for this unique event; the popcorn and candy concessions are free.

Otherness²:
Hiding in Plain Sight explores the outsider’s perspectives and the impact of
“Othering.” During the creative process, Harrison-Houser pursues authenticity
and begins to reveal untold stories in her work. However, she instinctively
hides within the mark-making with her use of symbolism, sgraffito, and
abstraction. Layer after layer of gesso and paint erase her disclosures.
Subsequently, the art installation shares these stories only in a type of
Hide-and-Seek game for the viewer. For deeper connections, the viewer
physically moves to a separate space to match the conceptual titles back to the
abstract squares. Through this physical movement and mindfulness, the
storyteller role shifts away from the artist and moves to the viewer to create
awareness, conversation, and the momentum for change.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

Southern
Gothic: Intersections of Art and Literature in the Johnson Collection

From Edgar
Allen Poe’s haunting tale of The Gold Bug (1843) to Flannery
O'Connor’s biting short story “Good Country People” (1955), the Southern
Gothic literary tradition has exhumed the American South’s aberrations,
contradictions, and unique sense of dark humor. Drawing exclusively
from the Johnson Collection, Southern Gothic examines how
nineteenth-and twentieth-century artists borrowed from their literary
peers, using a potent visual language to address the tensions between the
South’s idyllic visions and its historical realities.This exhibition is
guest curated by Elizabeth Driscoll Smith, a Ph.D. candidate from the
University California, Santa Barbara, and the Johnson Collection’s 2019
graduate fellow.

Enjoy an informative day as you tour the campus with Wofford students, attend special interest sessions, and cheer on the Terriers. You will also benefit from the opportunity to meet other high school students and families as they engage in the college search process.

Otherness²:
Hiding in Plain Sight explores the outsider’s perspectives and the impact of
“Othering.” During the creative process, Harrison-Houser pursues authenticity
and begins to reveal untold stories in her work. However, she instinctively
hides within the mark-making with her use of symbolism, sgraffito, and
abstraction. Layer after layer of gesso and paint erase her disclosures.
Subsequently, the art installation shares these stories only in a type of
Hide-and-Seek game for the viewer. For deeper connections, the viewer
physically moves to a separate space to match the conceptual titles back to the
abstract squares. Through this physical movement and mindfulness, the
storyteller role shifts away from the artist and moves to the viewer to create
awareness, conversation, and the momentum for change.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.

Join us for a community gathering of Wofford’s innovators and entrepreneurs.If you’re interested in learning more about entrepreneurship at Wofford, operating your own startup company or anywhere in between, this meet-up is for you. Come out and get connected to a welcoming and supportive community of student entrepreneurs and innovators. All are welcome - Food and drinks will be catered - Register to attend on Handshake. Contact Tyler Senecal atsenecaltj@wofford.edufor more information.

Faculty and staff are invited to a lunch presentation and Q&A with Karen Hauschild, exploring the attributes of Generation Z and approaches to advising work with them. Karen is the Director of the Academic Advising and Planning Center at the College of Charleston who has presented on Gen Z both regionally and nationally. She has practical experience in advising as well as administration, anchoring both in advising/student development history.

The first CIL and Diversity and Inclusion book club meeting
for this academic year will be a discussion of “Whistling Vivaldi: How stereotypes
Affect Us and What We can Do” by Claude Steele on Tuesday September 24,
11:30-12:50pm in Holcombe room. You are welcome to join the discussion even if
you couldn’t read the book.There are
Youtube videos with the author explaining his book.Please email Begoña Caballero if you would
need a copy of the book.

Otherness²:
Hiding in Plain Sight explores the outsider’s perspectives and the impact of
“Othering.” During the creative process, Harrison-Houser pursues authenticity
and begins to reveal untold stories in her work. However, she instinctively
hides within the mark-making with her use of symbolism, sgraffito, and
abstraction. Layer after layer of gesso and paint erase her disclosures.
Subsequently, the art installation shares these stories only in a type of
Hide-and-Seek game for the viewer. For deeper connections, the viewer
physically moves to a separate space to match the conceptual titles back to the
abstract squares. Through this physical movement and mindfulness, the
storyteller role shifts away from the artist and moves to the viewer to create
awareness, conversation, and the momentum for change.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.

What is privilege? Join ODI as we participate in "Privilege for Sale" a program that will help us identify privileges we experience, and explore how they shape our identity and influence the choices we make.

If you are interested in registering for the interim project "An Introduction to Dental Medicine, please sign the list in the Chemistry Department. Only 8 students can register and you need an override to get in. Students must have a minimum gpa of 3.2. Preference will be given to juniors and seniors. Higher gpas and making your request known earlier will help your chances of getting an override.

Otherness²:
Hiding in Plain Sight explores the outsider’s perspectives and the impact of
“Othering.” During the creative process, Harrison-Houser pursues authenticity
and begins to reveal untold stories in her work. However, she instinctively
hides within the mark-making with her use of symbolism, sgraffito, and
abstraction. Layer after layer of gesso and paint erase her disclosures.
Subsequently, the art installation shares these stories only in a type of
Hide-and-Seek game for the viewer. For deeper connections, the viewer
physically moves to a separate space to match the conceptual titles back to the
abstract squares. Through this physical movement and mindfulness, the
storyteller role shifts away from the artist and moves to the viewer to create
awareness, conversation, and the momentum for change.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.

Students who are interested in better defining skills gained from their study abroad experiences on their resumes, in job interviews and on graduate school applications should attend this workshop. Representatives from The Space and The Office of International Programs will discuss ways to better verbalize such experiences for both US and international potential employers and help students explore specific skills gained through study abroad. This info session is a must for all study abroad alums! Free food for student attendees!

Reducing microaggressions: From awareness to empowerment Giving Voice is a nationally recognized interactive theatre troupe that addresses various issues of diversity, oppression, and micro-aggressions. Under the direction of Dr. Carol Maples, the troupe uses an engaging approach to improve cultural competence in individuals and their organizations. Giving Voice guides the audience from awareness of oppression people are experiencing to empowerment so they can effectively handle various situations to help make their space safer for everyone. Thursday, Sep. 26 from 11 till 1pm in Gray Jones with lunch included, and Friday Sep. 27 from 11:30 till 2: 30pm in Meadors Multicultural House with complimentary lunch.

Otherness²:
Hiding in Plain Sight explores the outsider’s perspectives and the impact of
“Othering.” During the creative process, Harrison-Houser pursues authenticity
and begins to reveal untold stories in her work. However, she instinctively
hides within the mark-making with her use of symbolism, sgraffito, and
abstraction. Layer after layer of gesso and paint erase her disclosures.
Subsequently, the art installation shares these stories only in a type of
Hide-and-Seek game for the viewer. For deeper connections, the viewer
physically moves to a separate space to match the conceptual titles back to the
abstract squares. Through this physical movement and mindfulness, the
storyteller role shifts away from the artist and moves to the viewer to create
awareness, conversation, and the momentum for change.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.

Giving
Voice, a nationally recognized interactive theatre troupe will lead a workshop that addresses
various issues of diversity, oppression, and micro-aggressions. Giving Voice guides
the audience from awareness of oppression people are experiencing to
empowerment, so they can effectively handle various situations to help make
their space safer for everyone. Complimentary lunch for all attendees. RSVPs are appreciated.

Otherness²:
Hiding in Plain Sight explores the outsider’s perspectives and the impact of
“Othering.” During the creative process, Harrison-Houser pursues authenticity
and begins to reveal untold stories in her work. However, she instinctively
hides within the mark-making with her use of symbolism, sgraffito, and
abstraction. Layer after layer of gesso and paint erase her disclosures.
Subsequently, the art installation shares these stories only in a type of
Hide-and-Seek game for the viewer. For deeper connections, the viewer
physically moves to a separate space to match the conceptual titles back to the
abstract squares. Through this physical movement and mindfulness, the
storyteller role shifts away from the artist and moves to the viewer to create
awareness, conversation, and the momentum for change.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

Southern
Gothic: Intersections of Art and Literature in the Johnson Collection

From Edgar
Allen Poe’s haunting tale of The Gold Bug (1843) to Flannery
O'Connor’s biting short story “Good Country People” (1955), the Southern
Gothic literary tradition has exhumed the American South’s aberrations,
contradictions, and unique sense of dark humor. Drawing exclusively
from the Johnson Collection, Southern Gothic examines how
nineteenth-and twentieth-century artists borrowed from their literary
peers, using a potent visual language to address the tensions between the
South’s idyllic visions and its historical realities.This exhibition is
guest curated by Elizabeth Driscoll Smith, a Ph.D. candidate from the
University California, Santa Barbara, and the Johnson Collection’s 2019
graduate fellow.

Otherness²:
Hiding in Plain Sight explores the outsider’s perspectives and the impact of
“Othering.” During the creative process, Harrison-Houser pursues authenticity
and begins to reveal untold stories in her work. However, she instinctively
hides within the mark-making with her use of symbolism, sgraffito, and
abstraction. Layer after layer of gesso and paint erase her disclosures.
Subsequently, the art installation shares these stories only in a type of
Hide-and-Seek game for the viewer. For deeper connections, the viewer
physically moves to a separate space to match the conceptual titles back to the
abstract squares. Through this physical movement and mindfulness, the
storyteller role shifts away from the artist and moves to the viewer to create
awareness, conversation, and the momentum for change.

Props:
Personal identities in the Portrait Photography of Richard SamuelRoberts

The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.

From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.

With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.